Musical Memories of Simon Henderson

Musical Memories of Simon Henderson

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1. Buddy Holly (True Love Ways, 1958): This was my Dad’s favourite song. We played it at his Golden Wedding Anniversary, which was appropriate as Buddy wrote it as a wedding gift for his wife. They met for the first time only two months before. He asked her out on a date when they first met and then proposed to her on the first date. He died four months after getting married and composing this song. The “day the music died”, he was only 22. Buddy’s wife was pregnant at the time and she found out he died on the TV news. The shock caused her to miscarry the following day, which resulted in media outlets across the world agreeing to not releasing the names of any deceased until their next of kin had been notified.

2. The Beatles (And I Love Her, 1964): Two young men, who had just met, watched Buddy Holly on ‘Sunday Night at the London Palladium’ and were inspired to start up a band. Their first recorded song was a cover of ‘That’ll Be the Day’ and they named their band in tribute to his Crickets. They were Paul McCartney and John Lennon. I have three older brothers and I grew up listening to the Beatles. I particularly liked what John would later dismiss as Paul’s “silly love songs”. This was written by Paul, whose inspiration was Jane Asher, his girlfriend at the time. He wrote it in the basement of her family’s house in Wimpole Street, London. The following year, he wrote ‘Yesterday’ in the same basement.

3. Marianne Faithful (As Tears Go By, 1964): I seem to have bucked the trend by growing up with not just the Beatles, but the Rolling Stones too. Andrew Oldham, the Stones’ Manager, was concerned that the Beatles had evolved by writing their own songs, whereas the Stones at the time were playing only cover versions of mainly blues standards. To encourage Mick and Keith to write together, he locked them in a kitchen and wouldn’t let them out until they had written something. This song is the result. Mick’s original title was ‘As Time Goes By’ (in homage to Casablanca), but Oldham changed ‘Time’ to ‘Tears’, even though it makes little sense lyrically. Mick and Keith didn’t like the song and didn’t want to record a ballad, so Oldham gave it to a 17 year old girl, fresh out of Convent school, he met at a party a couple of weeks before. The YouTube clip is from an American pop show called ‘Hullabaloo’, which included some songs from England introduced by the Beatles’ Manager, Brian Epstein.

4. Desmond Dekker (The Israelites, 1968): I was born in Sydenham, South London, and I went to school in Catford, which had the largest number of West Indian immigrants other than Brixton. I remember being at a party and putting something rather boring on the turntable when one of my school friends stopped me and put this on instead. This was both the first time I noticed that he was black and the first time I fell in love with reggae. Dekker, like Jimmy Cliff and later Bob Marley, was part of the Rastafarian sub-culture that existed in the poorer sections of Kingston, Jamaica. They were ostracized by the conservative Christian Church and so were often destitute (“slaving for bread”) and tempted by a life of crime (“don’t want to end up like Bonny and Clyde”). Rastafarianism is an Afro-centric religion, which used to believe that Haile Selassie, the former Ethiopian emperor, was the incarnation of Jah (God) on Earth. It felt oppressed by Western culture, which it called Babylon. They associated with the Israelites, as they believed that they too had a promised land (in Ethiopia).

5. John Barry (Midnight Cowboy, 1969): I’ve always loved films and this was the first ‘X’ rated film I ever saw. It’s still the only ‘X’ rated film to win a Best Picture Oscar. John Barry composed the score and supervised the music, but he didn’t get an on-screen credit. It’s said to be the first soundtrack to make use of pre-recorded pop songs, noticeably Harry Nilsson’s ‘Everybody’s Talkin’ (a cover of a Fred Neil song). Bob Dylan wrote ‘Lay Lady Lay’ for the film, but didn’t finish it in time for it to be included. Barry is best known for his James Bond theme, for which he received a £250 flat fee, but he not only scored 11 Bond films, he also composed the music for The Persuaders, Born Free, Walkabout, the Juke Box Jury theme tune and he received 5 Oscars. The harmonica is played by Toots Thielemans.

6. Fleetwood Mac (Man of the World, 1969): The first single I ever bought was ‘Albatross’ and I was always a big fan of the Peter Green-era Fleetwood Mac. Green named the band after its rhythm section (the drums of Mick Fleetwood and the bass of John McVie) after they all left John Mayall and the Bluesbreakers. By the time this record was released, Green hated the fame that had come his way and had started experimenting with LSD. The song is about a man who has everything he wants, except the companion he craves. In hindsight, Fleetwood says it was a cry for help, as it included the line “I wish that I’d never been born”. The following year, Green went to a party in Munich and had the bad LSD trip that was to ruin his life. He gave all his money away, became destitute, was sectioned for schizophrenia and had ECT treatment. He was never the same again.

7. Jerry Goldsmith (Chinatown, 1974): I’ve always loved hard-boiled American detective fiction. Raymond Chandler, Dashiell Hammett, James Ellroy and the film noirs they inspired. ‘Chinatown’ is a neo-noir, set in 1937 Los Angeles. The character of Hollis Mulwray, the water engineer married to Faye Dunaway’s character, is based on William Mulholland, after whom Mulholland Drive was named. He bought water to LA, but in doing so, he turned the lush Owens Valley into a desert and the St Francis Dam he built 40 miles north-west of LA with shoddy materials collapsed and the flooding killed 450 people. Phillip Lambro wrote the original film score, but the producer (Robert Evans) didn’t like it. Goldsmith had just 10 days to write the new score, which includes a trumpet solo by Hollywood studio musician, Uan Rasey. Goldsmith also composed the theme tunes for ‘The Waltons’, ‘Planet of the Apes’, ‘The Omen’, ‘Alien’ and ‘LA Confidential’.

8. Janis Ian (At Seventeen, 1975): I was 17 myself when this song was released. It summed up all my teenage angst and insecurities. Ian was broke at the time and had moved back into her mother’s house. She read a local newspaper article about a former High School Queen who had learned the hard way that being popular didn’t solve all her problems. It included the quote “I learned the truth at 18” (which Ian changed to “17”, as it scanned better). She received 461 Valentine cards the following year, because of the line “the Valentines that never came”. She had been a child star and was already touring at the age of 16. As she was underage, she was given a female chaperone and when Bill Cosby came backstage she was sleeping in her chaperone’s lap. Thinking she was a lesbian, which she wasn’t at the time, Cosby made it his business to blacklist her from American TV, as he considered her not suitable as a family entertainer. Yes, that Bill Cosby, convicted rapist.

9. Bernard Herrmann (Taxi Driver, 1976): I visited New York in 1977, courtesy of Freddy Laker’s SkyTrain. This was on the back of watching this film, which had a visceral effect on me. Unfortunately, it also influenced John Hinkley (who tried to assassinate Ronald Reagan to impress the female lead, a 12 year old Jodie Foster) and David Berkowitz (“Son of Sam”, who went on a killing spree in New York the same year). Bernard Herrmann composed the music for both ‘Citizen Kane’ and ‘Vertigo’, which are often voted as the two best films ever made. He scored 7 Hitchcock films in total. Martin Scorsese, the director of this film, wanted a single, frightening dissonant note to be added to the score, so the studio orchestra were recalled to play that single note (for which they received a day’s pay). Herrmann went home and died that same night. This track includes an alto saxophone solo from Tom Scott, who also played on ‘Bladerunner’. The YouTube clip ends abruptly, because this is when a very sweary voiceover from Robert de Niro starts.

10. Kate Bush (Army Dreamers, 1980): Kate Bush was born the same year as me, in the same part of London. Her first regular gig was in a pub in Lewisham, less than half a mile from my school. I was in the Army cadet force at school and had joined the Territorials with a vague notion of one day joining the Army. This song put paid to that idea. It’s about a mother who grieves for her young adult son who was killed on military manoeuvres. It was one of 68 songs considered inappropriate for airplay by the BBC during the First Gulf War.

11. The Specials (Ghost Town, 1981): When this song came out, I had returned to London from college. I was unemployed and, as the song says, people at the time were “getting angry”. Thatcher’s new ‘sus’ laws allowed police to stop and search people at will, which caused resentment, particularly among young black men. It resulted in the race riots that happened in London (Brixton), Birmingham (Handsworth), Leeds (Chapeltown) and Liverpool (Toxteth). It was written by Jerry Dammers, an anti-apartheid campaigner who founded 2 Tone records and would later write ‘Free Nelson Mandala’. The previous year, The Specials had been on a disastrous tour which was beset with audience violence, clubs being closed down and “too much fighting on the dance floor”. It was their last single together. They split after a row at the recording of the song on ‘Top of the Pops’.

12. The Stranglers (Golden Brown, 1982): A former university friend of mine died in 1982 of a drugs overdose. He had joined the Met Police after leaving college and was still working for them at the time he died. Hugh Cornwell, the lead singer who wrote the lyrics for this song, spent 3 months in Pentonville Prison in 1980 for heroin possession. Though the lyrics were clearly drugs-related (“never a frown with golden brown”), Cornwell claimed it was in part about a tanned girl he once knew. It certainly fooled BBC2, who included it as their Record of the Week.

13. Ennio Morricone (Once Upon A Time in America, 1984): My favourite film, scored by my favourite composer. In its original format, the film was 3 hours 49 minutes long. The US distributors, without asking for the consent of the director (Sergio Leone) shortened it to 2 hours 15 minutes and rearranged the scenes in chronological order. It was consequently a major flop in the US and, in their haste to release the abridged version, the distributors left Morricone’s name off the opening credits, which meant he couldn’t be nominated for an Oscar. One of my best friends was a film critic at the time and I was invited along to a preview, so I was one of the first people to see the film in its original format. It was Leone’s first film in 13 years and his last. It’s Morricone himself who’s directing the orchestra in the YouTube clip.

14. Youssou N’Dour, featuring Neneh Cherry (Seven Seconds, 1994): Listening to the music of Kate Bush and Peter Gabriel, I grew to appreciate New World music. N’Dour was the breakout star of Gabriel’s Real World record label. He is Senegalese and sings in English, French and Wolof, a West African language. Cherry, who’s Swedish, says that the title comes from the first moments of a child’s life, not knowing about the problems, racism and violence in our world. “When a child is born, it has no concept of the tone of skin it’s living in.”

15. The Corrs (Everybody Hurts, 1999): A cousin of mine committed suicide around 1992, the year that the original recording of this song by REM came out. Feeling guilty, I trained to be a Samaritan, but found that I didn’t have what it took. Michael Stipe, REM’s lead singer, deliberately wrote a straightforward lyric (without his usual allegories and allusions) as a direct message to his band’s teenage fans. Teenage suicide had become a serious problem in America, as elsewhere. The Samaritans quickly adopted it to advertise their services and REM were happy to waive their royalties. This version is a cover by the Irish band, the Corrs, who recorded it live as part of the ‘MTV Unplugged’ series.

Fanfic / Old Man Henderson

Once upon a time, there were a few guys enjoying a Trail of Cthulhu campaign set in the modern times. Except they weren't, because they were stuck with a Killer Game Master. He was unfair, and unfun, and a few other "un-"s for good measure, harming and killing characters just because he could get away with it. It was bad, yes, but not unbearable enough to stop playing.

Then said GM made the mistake of angering The Roleplayer of the group. Now the guy in question, Waffle House Millionaire, didn't usually mind if his character got killed as long as it fit the narrative. A bad roll? Sometimes accidents happen. A bad decision? He did that in-character, even though he personally knew it was a bad idea. Bad circumstances? He could get upset, but won't hold a grudge. The game master gets defensive over his DMPC, makes up a curse regarding horses, and causes a horse to fall from a plane and land on his head? According to A Self Called Nowhere (one of the other players, and the original narrator of the tale), he had to physically restrain WHM from choking the DM to death.

So instead, WHM created Old Man Henderson: A Crazy Awesome Munchkin Loonie whose sole purpose in life is to completely derail the campaign, aided with the Backstory Of Doom, the sole purpose of which was to be so long and confusing that the DM wouldn't read it and not know that WHM was adding in skills and feats on the fly. The accounts of this are retold by Waffle House Millionaire and A Self Called Nowhere.

African Culture in America

When Africans arrived as slaves in America, they brought a culture endowed with many traditions foreign to their European captors. Their rituals for worshiping African gods and celebrating ancestors, death, and holidays, for example, displayed features uncommon to Western culture. Most noticeable among African practices was the prominent tie of music and movement. The description of a ritual for a dying woman, recorded by the daughter of a Virginia planter in her Plantation Reminiscences (n.d.), illustrates the centrality of these cultural expressions and the preservation of African traditions in slave culture:

Several days before her death … [h]er room was crowded with Negroes who had come to perform their religious rites around the death bed. Joining hands they performed a savage dance, shouting wildly around her bed. Although [Aunt Fanny was] an intelligent woman, she seemed to cling to the superstitions of her race.

After the savage dance and rites were over … I went, and said to her: " … we are afraid the noise [singing] and dancing have made you worse."

Speaking feebly, she replied: "Honey, that kind of religion suits us black folks better than your kind. What suits Mars Charles' mind, don't suit mine." (Epstein 1977, p. 130)

Slaveholders and missionaries assumed that exposure to Euro-American cultural traditions would encourage slaves to abandon their African way of life. For some slaves, particularly those who were in constant contact with whites through work and leisure activities, such was the case. The majority of slaves, however, systematically resisted cultural imprisonment by reinterpreting European traditions through an African lens. A description of the slaves' celebration of Pinkster Day, a holiday of Dutch origin, illustrates how the event was transformed into an African-style festival characterized by dancing, drumming, and singing. Dr. James Eights, an observer of this celebration in the late 1700s, noted that the principal instrument accompanying the dancing was an eel-pot drum. This kettle-shaped drum consisted of a wide, single head covered with sheepskin. Over the rhythms the drummer repeated "hi-a-bomba, bomba, bomba."

These vocal sounds were readily taken up and as oft repeated by the female portion of the spectators not otherwise engaged in the exercises of the scene, accompanied by the beating of time with their ungloved hands, in strict accordance with the eel-pot melody.

Merrily now the dance moved on, and briskly twirled the lads and lasses over the well trampled green sward loud and more quickly swelled the sounds of music to the ear, as the excited movements increased in energy and action. (Eights [1867], reprinted in Southern 1983, pp. 45 – 46)

The physical detachment of African Americans from Africa and the widespread disappearance of many original African musical artifacts did not prevent Africans and their descendants from creating, interpreting, and experiencing music from an African perspective. Relegated to the status of slaves in America, Africans continued to perform songs of the past. They also created new musical forms and reinterpreted those of European cultures using the vocabulary, idiom, and aesthetic principles of African traditions. The earliest indigenous musical form created within the American context was known as the Negro spiritual.

Musical Memories of Simon Henderson - History

Regarding the famous line, "Where have you gone Joe DiMaggio?": DiMaggio was a star baseball player for the New York Yankees who was briefly married to Marilyn Monroe. Simon was using him to represent heroes of the past. DiMaggio was a little miffed when he heard this, since he was still very much alive even though he retired from baseball in 1951, but he realized that he had become a new icon now with the baby boomer generation due to this song's success.

Simon, who is a huge fan of The Yankees, explained in a 1990 interview with SongTalk magazine: "The Joe DiMaggio line was written right away in the beginning. And I don't know why or where it came from. It seems so strange, like it didn't belong in that song and then, I don't know, it was so interesting to us that we just kept it. So it's one of the most well-known lines that I've ever written."

Simon began writing this as "Mrs. Roosevelt," and had just the line, "Here's to you, Mrs. Roosevelt" when he changed it to "Mrs. Robinson" for The Graduate.

Eleanor Roosevelt was a likely influence on the song. Some of the lyrics support this theory:

We'd like to help you learn to help yourself
Look around you, all you see are sympathetic eyes

Going to the candidates debate
Laugh about it, shout about it
When you've got to choose
Every way you look at it, you lose

Roosevelt was a female rights and black rights activist, always helping everyone but herself during the Great Depression. A lot of the time she seemed to have been running the country as much as FDR, but never would have actually won the presidency because she was female. >>

When Mike Nichols was making The Graduate, he used three existing Simon & Garfunkel songs as placeholders: "The Sound of Silence," "Scarborough Fair / Canticle" and "April Come She Will." He was hoping that Paul Simon would write some original songs for the film, but touring and work on an upcoming album left him drained. Nichols decided to use these placeholder songs, but really wanted a new song to serve as the soundtrack.

Art Garfunkel had heard Simon working on "Mrs. Roosevelt," and mentioned this to Nichols, who realized the title had the same number of syllables as "Mrs. Robinson." Desperate for a song, Nichols asked Simon to change it to "Mrs. Robinson" and write the rest of it. Simon decided to give it a shot.

According to Art Garfunkel, this song may never have been recorded had it not been for The Graduate director Mike Nichols, who asked the duo for songs for his film. Garfunkel said that at the time, the tune was "A trifle song we were about to throw out," but when Nichols heard this early version, he heard something in it and asked Simon to adapt it for the film.

"His intelligence allowed him to hang loose and make all these different, fabulous choices," Garfunkel said of Nichols, who died in 2014. Nichols directed Garfunkel in the 1971 movie Carnal Knowledge. (source of quote: Entertainment Weekly)

Many top session musicians recorded with Simon & Garfunkel, including drummer Hal Blaine, who played on this and considers it one of his favorites.

Speaking with Mail on Sunday's Event magazine, Garfunkel recalled: "We tightened the harmonies, and it became something very appealing. I remember walking into the studio, with Hal Blaine playing congas, Larry Knetchel playing bass, and Paul playing terrific, chugga-chugga rhythm guitar, all around one microphone.

I tiptoed into the control room to check that we were recording, and started getting very excited, thinking, this has got it! It swings like a mutha."

The American group The Lemonheads did a popular cover of this song in 1992 that went to #8 on the Modern Rock chart and introduced the song to many in Generation X (it also hit #19 on the UK Singles chart). The Lemonheads were asked to record the song for the 25th anniversary release of The Graduate, prompting frontman Evan Dando to comment, "Some people, probably wearing Italian shoes, said, 'Hmmm, we need to get The Graduate out to more of a flannel-wearing kind of audience."

Dando would later say, "I'm more proud of my own songs than the version of 'Mrs. Robinson,' which frankly I can take or leave – mostly leave." He refused to perform the song except under duress when sufficiently cajoled by his record company. His disdainful attitude toward the song was a protection mechanism of sorts to keep credibility with his core audience, who loathed anything reeking of corporate influence. "For the longest time, I couldn't believe we did it, and a lot of our fans were disappointed that we put that out," he explained in a 2019 Songfacts interview. "They thought we were better than that, that we were kind of selling out."

Dando adjusted his attitude when the Lemonheads cover was used in the 2013 Martin Scorsese film The Wolf of Wall Street, earning him a nice royalty check. "I thought, If it's in a Scorsese movie, it's finally making good for me," he told Songfacts. "I'm OK with it."

Comments: 61

  • Sage from Detroit Roosevelt was a communist and a traitor whose husband sent thousands of Japanese Americans to internment camps. She didn't have time for their sympathetic eyes.
  • Kev from Rogers, Ar I remember hearing this song on the Heathkit radio that my brother had built in 1967 or so. Because of the "mature" nature of The Graduate, my mom wouldn't let me watch it, but my brother saw it with his friends. But I heard the song on my brother's radio, though. Such nice memories.
  • Mark from San Pedro Ca Paul Simon of course was a diehard New York Yankees fan, hence the reference to Joltin' Joe, because his hero, Mickey Mantle, wouldn't fit the tempo of Mrs. Robinson. But I never will forget Simon on the Dick Cavett Show, for some reason with four Yankees including Mickey Mantle, when Mick brought up enuresis, or bedwetting. This was a cause of Mantle's, and he mentioned on the show he was a bedwetter as a kid. Paul Simon: You used to. wet the bed? Mickey Mantle, cheerfully: Yep, til I was 12 years old! Paul Simon, bewildered: But. but. You're Mickey Mantle!
  • Barry from Sauquoit, Ny On May 15th, 1941 Joe DiMaggio began his historic 56-game hitting streak, a major league baseball record that's still standing.
    And exactly twenty-seven years later on May 15th, 1968 'Where have you gone, Joe DiMaggio?, a nation turns its lonely eyes to you' was at #2 on Billboard's Hot Top 100 chart, the following week it remained at #2, and then for the next three weeks "Mrs. Robinson" by Simon and Garfunkel was at #1 on the Top 100.
  • Kawa from Tokyo, Japan Hi Music lovers,

The song is wonderful the movie is terrific, each boosted the success of the other, but the two are barely related.

I think Mrs. Robinson is trying to uphold the "perfect" image that was the 50's.

Mrs. Robinson is more or less every house wife in the 60's that felt society was starting to fall apart in america. They thought the flower childern were the most terrible thing ever. They were trying to keep the perfectionism in life and it's impossible.

This song is accually quite sad becuase Mrs. Robinson kept living in a delusion that Jesus loved her more than anybody and that she was perfect.

Peter "Hey how 'bout 'Here's to you Mrs. Fleckenstien'"
S & G "Yeah you've been pitching that for an hour but it's just not a very attractive name"
Peter "Oh oh fine fine I suppose we're also not going with Parsley, Sage, Rosemary, and Lowery's Seasoning salt. Thats it I'm going to Nam."

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Musical Memories of Simon Henderson - History

Photograph © Doug McKenzie/Country Music People

Mervyn Conn, Tammy Wynette and Tony Byworth at the Country Music Association (GB) Awards Dinner in 1976. Tony, former editor of the magazine Country Music People, was Chairman of the CMA (GB) at the time and Tammy was their dinner guest.

1969 (April 5th)

Bill Anderson & The Po Boys, Phil Brady & The Ranchers, Wes Buchanan, Larry Cunningham & The Mighty Avons, George Hamilton IV, The Hillsiders, Jan Howard, Loretta Lynn Show, Merrill Moore, Orange Blossom Sound, John Wesley Ryles, Conway Twitty & The Lonely Blue Boys, Charlie Walker. David Allan, Murray Kash and Stephen West shared the master of ceremonies.

1970 (March 28th)

Roy Acuff, Lynn Anderson, Country Fever, Skeeter Davis, Roy Drusky & The Loners, Don Gibson, Tompall & The Glaser Brothers, George Hamilton IV, The Hillsiders, David Houston & The Persuaders, The Loretta Lynn Show, Orange Blossom Sound, Bashful Brother Oswald (part of Roy Acuff's Show) Willard Pearce, Peggy Sue (part of Loretta Lynn's Show), Tex Ritter, Charlie Walker, Doyle Wilburn (part of Loretta Lynn's Show) with MC's Murray Kash, Pat Campbell & Wally Whyton.

1971 (April 10 & 11)

Roy Acuff & The Smokey Mountain Boys, Tommy Cash, Brian Coll, Lee Conway, Larry Cunningham, Tompall & The Glaser Brothers, John Hartford, George Hamilton IV & The Numbers, Waylon Jennings (with Jessi Colter), Merle Kilgore, Ray Lynam & The Hillbillies, The Loretta Lynn Show, Patsy Powell & The Honky Tonk Playboys, Hank Snow & The Rainbow Ranch Boys, Hank Williams Jr. & The Drifting Cowboys and The Jonny Young Four. George Hamilton IV was MC with Murray Kash.

Conway Twitty © mca

1972 (April 1st & 2nd)

Bill Anderson & The Po Boys, Country Fever, Larry Cunningham, Tom T. Hall & The Storytellers, George Hamilton IV & The Numbers, Loretta Lynn & The Coal Miners, John D. Loudermilk, Ray Lynam & The Hillbillies, Margo & Country Folk, Anne Murray, Terry McKenna, Del Reeves, The Earl Scruggs Revue, The Stonemans, Tex Withers, Conway Twitty & The Twittybirds, Dottie West, Hank Williams Jnr. & The Cheatin' Hearts, Jonny Young Four. George Hamilton IV was MC (Saturday) and Bill Anderson was MC (Sunday) with the Billboard/Record Mirror Awards presented by Mary Reeves.

Photograph © Doug McKenzie/Country Music People

Many of the stars that appeared at Wembley in 1973. They are (back row) Murray Kash, Mac Wiseman, Jim Glaser, Mervyn and Laura Conn, Jim Ed Brown, Bryan Chalker and Hank Thompson. In the middle row is Ray Lynam, Chuck Glaser, Ernest Tubb, Diana Trask, Dottie West, Skeeter Davis, Jeannie Seely, Jack Greene and Del Reeves. Seated are Hank Snow, Ferlin Husky, Wally Whyton, Nada Urbankova, Johnny Paycheck, George Hamilton IV, Larry Cunningham and Frankie McBride.

1973 (April 21st & 22nd)

Jim Ed Brown, Cates Sisters, Bryan Chalker and New Frontier, Country Fever, Larry Cunningham, Skeeter Davis, Tompall & The Glaser Brothers & The Nashville Studio Band, Jack Greene & The Jolly Green Giants, George Hamilton IV, Ferlin Husky (with his alter-ego Simon Crum), Ray Lynam & The Hillbillies, New Strangers, Johnny Paycheck, Del Reeves & The Good Time Charleys, Jeannie C. Riley & The Homesteaders, Jeannie Seely, Hank Snow, Pete Sayers, Hank Thompson & The Brazos Valley Boys, Diana Trask, Ernest Tubb & The Texas Troubadours, Nada Urbankova & Country Beat, Dottie West, Mac Wiseman and The Jonny Young Four. The MC was Wally Whyton. The Billboard/Record Mirror Awards were presented by Bill Williams (Billboard Nashville editor) and Tony Byworth (Billboard/Record Mirror European country music editor).

Ray Lynam - Photograph © Declan Barnes

Saturday, April 13th 1974

Pete Brady introduced Bill Anderson, Tompall Glaser, The Hillsiders, Wanda Jackson, Kathie Kay, Ray Lynam & Philomena Begley, Bill Monroe & The Bluegrass Boys, Jeanne Pruett, Rankarna & Mats Radberg, Terry Stafford, Kitty Wells & Johnny Wright (with Tennessee Mountain Boys) & The Jonny Young Four. There was also a special presentation: The International Festival 1974 Billboard/Record Mirror Country Music Awards.

Sunday, April 14th 1974

Murray Kash presented the Miss Country Music Competition. Bill Anderson introduced Larry Cunningham & The Country Blue Boys, Czech Country Beat, Narvel Felts, Frisco, Caroline Hall, Miki & Griff, The Oak Ridge Boys, Johnny Rodriguez, David Rogers, Patsy Sledd, Mac Wiseman with George Jones & Tammy Wynette. There was also the Miss Country Music Awards and the British Country Music Festival Awards. ** Mary Lou Turner and Kelvin Henderson were also mentioned as appearing this year.

Saturday, March 29th 1975

George Hamilton IV introduced Molly Bee, Johnny Carver, The Kelvin Henderson Country Band, Vernon Oxford, Ray Lynam & Philomena Begley and Marty Robbins. Following the interval there was the Billboard Publications Country Music Awards followed by the Cass Family, Jon Derek & Country Fever, Miki & Griff, The Tumbleweeds, Mac Wiseman and Dolly Parton & Her Travelling Family Band.

Sunday, March 30th 1975

George Hamilton IV introduced Frisco, David Frizzell, Sydney Devine, Wanda Jackson, Barbara Mandrell & The Do Rights and Red Sovine. Following the interval there was The British Country Music Festival Awards and then the Billboard/Record Mirror Awards were presented by Lyn Paul, Hughie Green and Dorothy Ritter. It was a great honour for me to be one of seven deejays nominated as Disc Jockey of the year at the Billboard (UK) Country Music Awards. The show continued with Larry Cunningham & the Country Blue Boys, George Jones, Jeanne Pruett, Jimmy Payne, Melba Montgomery and Jean Shepard. Other names mentioned as appearing at the festival this year included Jeannie Denver & Vernon Oxford. ** The programme also showed Lefty Frizzell as a guest - but, of course, Lefty died in July 1975 so we don't know whether he was booked to appear.

Marty Robbins in the BBC marquee recording for the radio programme "Country Club" in 1976. Photograph courtesy of Snowy & Heather Walker.

1976 (April 17th, 18th & 19th)

Kathy Barnes, Country Gazette, Dick Damron, The Dillards, Johnny Gimble, Jack Greene, Lloyd Green, George Hamilton IV, John Hartford, Wanda Jackson, Waylon Jennings, Jim & Jesse McReynolds, Vernon Oxford, Ozark Mountain Daredevils, Carl Perkins, Jeanne Pruett, Dolly Parton, Marty Robbins, Pete Sayers, Jeannie Seely, Buffy St. Marie, Red Sovine, Connie Smith, Dodie West, Don Williams, Tex Withers, Tammy Wynette with Murray Kash as MC.

1977 (April 9th, 10th & 11th)

Carroll Baker, J.J. Barrie, Philomena Begley, Jimmy Buffett, Wilf Carter, The Cotton Mill Boys, Don Everly, The Dillards, Larry Gatlin, Crystal Gayle, Don Gibson, Johnny Gimble, Lloyd Green, Emmylou Harris, Frank Jennings Syndicate, Albert Lee, Ray Lynam and The Hillbillies, Loretta Lynn, Keith Manifold, Jim & Jesse McReynolds, Mercy Brothers, Jody Miller, Mickey Newbury, Oak Ridge Boys, Tommy Overstreet, Carl Perkins, Jean Shepard, Billie Jo Spears, Hank Thompson and The Brazos Valley Boys, Conway Twitty, Don Williams and Dennis Weaver.

Saturday, March 25th, 1978

George Hamilton IV introduced Carroll Baker, Jeannie Denver & The JD Band, Don Everly, Fonograf, Barbara Fairchild and The Wilburn Brothers. After the first interval, the show featured Freddie Hart, Jody Miller, Vernon Oxford and Carl Smith. The final part of Saturday's show had Don Williams topping the bill.

Sunday, March 26th, 1978

George Hamilton IV introduced Colin Christian and Culpepper County, Skeeter Davis, Kelvin Henderson, Lynch & Lawson, Marty Robbins and Saskia & Serge. Dave & Sugar followed after the interval with appearances from Donna Fargo, Lloyd Green, Charlie McCoy, Hargus 'Pig' Robbins and Carl Perkins. We are informed that Ronnie Milsap was scheduled to appear on this day but didn't make Wembley.

Monday, March 27th 1978

Barbi Benton, Dick Damron, Raymond Froggatt, Tompall Glaser and Ronnie Prophet opened the first part of the show and were introduced by George Hamilton IV. Following the first interval Larry Gatlin opened the proceedings with music from Joe Ely, Kenny Rogers and Dottie West. The International Country Music Awards was a feature before the show came to a grand finale with Moe Bandy, Ray Lynam & The Hillbillies and Merle Haggard.

In 1978, to coincide with the Tenth International Festival of Country Music, the magazine Music Week, launched a 20-page souvenir issue, edited and compiled by Tony Byworth, which sold for the grand sum of 15p. You can view larger images of the cover (on the left) and an advertisement inside the supplement (on the right) by clicking on the above photographs which are © Music Week.

1979 (April 14th, 15th & 16th)

Billy Armstrong, Bobby Bare, Moe Bandy, Philomena Begley, Boxcar Willie, Jeannie Denver, Ray Dexter, Al Doherty, Lonnie Donegan, The Drifting Cowboys, Floyd Cramer, Dottsy, Duffy Brothers, Buddy Emmons, Barbara Fairchild, Freddy Fender, Ken and Billie Ford, Crystal Gayle, Don Gibson, Gloria, Freddie Hart, Terri Hollowell, Jana Jay, Sleepy LaBeef, Hank Locklin, Ray Lynam & The Hillbillies, Charlie McCoy, Jim & Jesse McReynolds, Ronnie Milsap, Vernon Oxford, Nancy Peppers, Poacher, Ronnie Prophet, Marty Robbins, Lanie Smallwood, Billie Jo Spears, Joe Stampley, Conway Twitty, Frank Yonco and Tammy Wynette.

Irish star Gloria celebrating her gold disc for sales of her song "One Day At A Time."

Roy Acuff, Bobby Bare, Philomena Begley, Bellamy Brothers, Boxcar Willie, Roy Clark, Commander Cody & The Lost Planet Airmen, Eddie Eastman, Don Everly, Barbara Fairchild, Janie Fricke, Raymond Froggatt, Johnny Gimble, Tompall & The Glaser Brothers, Lloyd Green, Emmylou Harris, Frank Ifield, Tom Jennings, The Kendalls, Albert Lee, Brenda Lee, Little Ginny, Ray Lynam, Matchbox, Susan McCann, Charlie McCoy, Bill Monroe, The Mintings, Jimmy C. Newman, Stella Parton, Peggy Sue, Colleen Peterson, Charley Pride, Ronnie Prophet, Charlie Rich, Kenny Seratt, Joe Sun, Shoji Tabuchi, Billy Walker, Kitty Wells, Sonny Wright and Faron Young.

Chuck Glaser, Tompall Glaser and Jim Glaser - Tompall & The Glaser Brothers were always a popular act whenever they appeared at the International Festival of Country Music at Wembley.

Suzie Allanson, Rex Allen Jr., American Express, Hoyt Axton, Bellamy Brothers, Johnny Cash, Buddy Emmons, Frank Ifield, George Jones, Paul Kennerley, Jerry Lee Lewis, Jim & Jesse McReynolds, Terry McMillan, Jimmy C. Newman, Carl Perkins, Diane Pfeifer, Marty Robbins, Rose Marie, Roxon Roadshow, Doc and Merle Watson and Tammy Wynette.

Friday, April 9th 1982

Ronnie Prophet introduced Philomena Begley, Dale Brady, Guy Clark, Cynthia Clawson, Tammy Cline, The Dillards, Jerry Foster, Kris Kristofferson, Brendan Quinn, Billy Swan, Mel Tillis with Bob Young & The Double M Band.

Saturday, April 10th 1982

George Hamilton IV introduced AG & Kate, Boxcar Willie, Roy Clark, Colorado, Tony Goodacre, Grandpa Jones, Susan McCann, Jimmy C. Newman, Rose-Marie, The Roxon Roadshow, Kitty Wells, The Wilburn Brothers and Porter Wagoner. There was also The Country Music Roundup & Mervyn Conn Promotions International Country Music Awards 1982. ** The souvenir programme mentions Grandpa Jones but we are not sure whether he appeared.

Sunday, April 11th 1982

Ronnie Prophet introduced Razzy Bailey, Boytorian, Terri Gibbs, Lloyd Green, Tom Gribbin & The Saltwater Cowboys, Wendy Holcombe, Jerry Lee Lewis, Teddy Nelson, Patrice, Marty Robbins with Two's Company.

Monday, April 12th 1982

Ronnie Prophet introduced Mary Bailey, Linda Cassady, Lonnie Donegan, Roy Drusky, Kelly Foxton, Gerry Ford, Terry McMillan, The Nashville Superpickers, Roy Orbison, Jeannie C. Riley and Don Williams with The Silk Cut Country Music Talent Competition Awards presentation.

Saturday, April 2nd 1983

Roy Acuff, AG & Kate (Holland), The Dillards, Skeeter Davis, Roy Drusky, Foster & Allen (Ireland), Jim & Jesse & The Virginia Boys, Bill Monroe, Suzanne Prentice (New Zealand), Ronnie Prophet (Canada) who also acted as compere, Jeannie Pruett, Porter Wagoner and Billy Walker.

Sunday, April 3rd 1983

Dave Bryant & Moonshine (UK), Linda Cassady, TR Dallas (Ireland), Barbara Fairchild, Narvel Felts, Tompall & The Glaser Brothers, Tom Gribbin & The Saltwater Cowboys, Tony Goodacre (UK), George Jones, John D. Loudermilk, Matchbox (UK), Terry McMillan, Wesley Parker and Tammy Wynette.

Tammy Wynette © Epic

Monday, April 4th 1983

Wendel Adkins, Australia (The Legarde Twins, Australia), Bobby Bare, Boxcar Willie & The Texas Trainmen, Ed Bruce, The Flying Burrito Brothers, Bonnie Dobson, Free Spirit (UK), Raymond Froggatt (UK), Johnny Lee, Teddy Nelson (Norway), Rattlesnake Annie, Margo Smith and Billie Jo Spears.

Lynn Anderson, Moe Bandy, Philomena Begley, Glen Campbell, Freddy Fender, David Frizzell, Jim Glaser, Tom Gribben, Emmylou Harris, Carl Jackson, Tom Jennings, Albert Lee, Ray Lynam, Susan McCann, Jim & Jesse McReynolds, Lee Moran, The Osmonds, Vernon Oxford, Ray Pillow, Paul Richey, Jeannie C. Riley, Ronny Robbins, Ray Stevens, The Stoneman Family, B.J. Thomas, Geoff Turner, Billy Walker, Shelly West and Slim Whitman.

Boxcar Willie, Moe Bandy, Philomena Begley, Bellamy Brothers, Glorianne Carriere with Station Break, Rita Coolidge, Gail Davies, Michael Doucet, Narvel Felts, Freddy Fender, Tompall & The Glaser Brothers, Tom Gribben and the Saltwater Cowboys, Brenda Lee, Loretta Lynn, Jerry Lee Lewis, Ray Lynam, Tokyo Matsu, Susan McCann, Terry McMillan, Jimmy C. Newman, The Osmonds, Ronnie Prophet, Rose Marie, Paul Richey, Johnny Russell, Joe Stampley, Nat Stuckey, Conway Twitty, Billy Walker, Hank Wangford and Tammy Wynette.

Johnny Cash with Stan Laundon in 1968 - photograph © Billy Crallan

Rex Allen Jnr., Carroll Baker, June and Carlene Carter, Johnny Cash, Guy Clark, Lacy J. Dalton, The Drifting Cowboys, Johnny Duncan, Exile, Barbara Fairchild, Janie Fricke, Mark Gray, George Hamilton IV, Jeff Hanna, Becky Hobbs, George Jones, Bill Monroe, The Moody Brothers, The Nitty Gritty Dirt Band, Marie Osmond, Vernon Oxford, Rattlesnake Annie, Johnny Russell, John Schneider, Connie Smith, Margo Smith, Jerry Jeff Walker and Gene Watson.

Rex Allen Jnr., Boxcar Willie, Moe Bandy, Bobby Bare, Bellamy Brothers, David Allan Coe, Colorado, Tommy Collins, Little Jimmy Dickens, Jerry Douglas, Leon Everette, Forrester Sisters, Janie Fricke, George Hamilton IV, George Hamilton V, Emmylou Harris and the Hot Band, Hogan's Heroes, Sleepy LaBeef, Jerry Lee Lewis, Patty Loveless, Mel McDaniel, Mark O'Connor, Newgrass Revival, Pinkertons Colours, Peter Rowan, Johnny Russell, Connie Smith and Tanya Tucker.

Skeeter Davis

Hoyt Axton, Carroll Baker, Pinto Bennett, Tommy Collins, Colorado, Larry Cunningham, Skeeter Davis, Mary Duff, Carey Duncan, Leon Everette, Freddy Fender, Raymond Froggatt, Crystal Gayle, Don Gibson, Lloyd Green, Tom Gribbin and the Saltwater Cowboys, Merle Haggard, George Hamilton IV, George Hamilton V, Hogan's Heroes, Wanda Jackson, Stonewall Jackson, Jim & Jesse, The Jordanaires, Albert Lee, Jerry Lee Lewis, Patty Loveless, Melba Montgomery, Charlie McCoy, Willie Nelson, Daniel O'Donnell, The O'Kanes, Vernon Oxford, Rose Marie, Marvin Rainwater, Roxon Roadshow, Joe Sun, Hank Thompson, Billy Walker, Mac Wiseman and Tammy Wynette.

Asleep at the Wheel, Bobby Bare, Suzy Bogguss, Larry Boone, Boxcar Willie, Jessi Colter, Earl Thomas Conley, Rosie Flores, Janie Fricke, Carol Gordon, Waylon Jennings, John McEuan, Susan McCann, Lorrie Morgan, Bob Newman, Buck Owens, Pinkertons Colours, Poacher, Kimmie Rhodes, Billy Joe Shaver, Townes Van Zandt, Billy Walker, Keith Whitley and Tammy Wynette.

Saturday, April 14th 1990

Dan Riley introduced Freddy Fender, Emmylou Harris, The Sarah Jory Band, Doug Kershaw, H.S.Krush with Footloose, Logue & McCool with Lateshift, Susan McCann, Declan Nerney, Poacher and Johnny Russell.

Sunday, April 15th 1990

Dan Riley introduced Aine and Lateshift, Pinto Bennett and The Famous Motel Cowboys, David Allan Coe, Graham Fenton's Matchbox, Jerry Lee Lewis, Judy Lindsey with Memphis Roots, Medicine Bow, Louise Morrissey, Hayden Thompson with Graham Fenton's Matchbox, Randy Van Warmer with Emerald and The Hank Wangford Band.

Willie Nelson - Photograph © Eric Whitehouse

Monday, April 16th 1990

Dan Riley introduced Asleep At The Wheel, Mary-Chapin Carpenter, Bill Conlon, Kathy Durkin, Raymond Froggatt, Carole Gordon and Bob Newman with Hogan's Heroes, George Hug with West Coast, Barry McCloud and The Bounty Hunters, Katie Moffatt, Willie Nelson and Kimmie Rhodes.

Saturday, March 30th 1991

John McEuen introduced Big Guitars from Memphis, The Johnny Cash Show, Country Fever, Crystal Gayle, Isla Grant & Allon Young, David Houston & Kathy Raye, George Hug, Matt Leavy, Charlie Louvin, Susan McCann, Stu Phillips, Brendan Quinn, Jean Shepard and West Coast,

Sunday, March 31st 1991

John McEuen introduced Aine, Philomena Begley, Jodle Birge, Canones y Mantequilla, A Patsy Cline Tribute with Sharon Haynes & The Jordanaires, Ian & Andy, Charlie McCoy, Michael O'Brien, Sally O'Brien,The Tony Rouse Band, Tender Mercies, The United, Slim & Byron Whitman and Tammy Wynette.

Sunday, February 26th 2012

Steve Cherelle introduced Raymond Froggatt, Sandy Kelly & George Hamilton IV, Tim McKay, Pig Earth, Ali Isabella, Will Banister and Jo-El Sonnier. David Allen introduced John McNicholl, George Ducas, Narvel Felts and Asleep at the Wheel. After the interval George Hamilton IV introduced Lonestar and Ricky Skaggs with Reba McEntire appearing after the second interval.

This page is dedicated to the memory of Murray Kash who played a huge part in the Wembley festivals as organiser and compere. Murray - an actor, broadcaster, writer and speech therapist - was born September 16th, 1923 and died March 30th, 2009.

Thanks to David Allan, Dave Barnes, Tony Byworth, Bryan Chalker, Arie den Dulk, Tony Goodacre and Ed Wooden for their help and invaluable contributions to this page

The photographs on this page are copyright © to their respective owners and must not be copied or used in anyway without prior written permission.

If you'd like to use information from this page then ask, DON'T STEAL IT!

Copyright © Stan



Impresario Mervyn Conn was responsible for staging the International Festivals of Country Music at the Wembley Arena, in London, for 23 years. The first festival was in 1969 with the final curtain falling in 1991. However, in 2012 he brought it back because of the interest in country music. This page is dedicated to those wonderful festivals and, we hope, brings back many memories to those who attended over the years. We intend to provide a complete and comprehensive list of all the artists who appeared at Wembley so, If you feel we have overlooked someone, or you have further information, please do not hesitate to contact us.

The first Wembley Festival in 1969.

The Wembley Festival 2012.

Mervyn Conn's Biography is now available through Tonto Books.

Mervyn Conn has been established in the entertainment industry for over 50 years. By the age of 21 he was running his own disco in Soho’s Gerrard Street, frequented by a young crowd of soon to be pop stars, actors and business tycoons. After joining forces with the legendary agent, Joe Collins, (father of Joan and Jackie, partner of Lew and Lesley Grade), he staged the first Beatles Christmas Shows and went on to work with virtually all the pop and rock and roll acts of the time. He also directed the Melody Maker Pop Shows at Wembley - some of the very first household names in the pop industry sprung from that period.

For 23 years he also promoted the annual International Country Music Festival at Wembley and other major European countries, introducing the British public to the world’s foremost country music artists including Johnny Cash, Dolly Parton, Tammy Wynette, Jerry Lee Lewis, Crystal Gayle, Daniel O’Donnell etc. He was particularly friendly with Johnny Cash.

"Mr Music Man" is an entertaining book with enlightening insights into the world of entertainment. Mervyn Conn’s amazing life story will enthral the reader as it opens the curtains on many of the behind-the-scenes happenings in the roller coaster world of showbusiness. His life is a potpourri of promoting almost all genres of music from Rock to Jazz to Classical to Country and beyond.

Mervyn's story alternates from humorous tales to frank accounts of some the most high risk adventures that he took as a music impresario for over six decades. From the Kremlin to 10 Downing Street to the White House to Wembley, Mervyn takes the reader with him on his exciting, and sometimes dangerous, showbusiness odyssey, every step of the way. The sometimes manic mannerisms of a few entertainers are exposed here. This is a warts-and-all account of the side of showbusiness that most fans don't see. "Mr Music Man" is available at £9.99 from Tonto Books.

Mervyn Conn during his early Wembley Festival days.

Philomena Begley © Stan Laundon

Jim Ed Brown © Stan Laundon

George Hamilton IV © John Foster

Melba Montgomery © Elektra

Ricky Skaggs ©

Connie Smith © Stan Laundon

Kelly Foxton with Hank Snow © Stan Laundon

Ernest Tubb © Stan Laundon

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WELCOME! to Louisiana's "Official honors and recognition organization & information resource, for and about Louisiana's music, musicians and musical heritage." - Louisiana Legislature - 2010, ACT SCR 112

The Louisiana Music Hall Of Fame, where all LMHOF archives are always available for viewing by all at no charge as an educational service of The Louisiana Music Hall Of Fame & LMHOF. LEARN!

LMHOF's mission is to create a viable music industry for, and in, the State of Louisiana first by honoring our great artists and preserving their history and stories, by educating and enlightening Louisiana's citizens, and all, to the incredible musical contributions and heritage of LA's artists, writers, musicians and industry people who gave birth to, and grew Louisiana's music the world's best the soundtrack of the 20th Century and to celebrate our music and musicians as a base upon which to build a viable, modern music industry in Louisiana.

Birthplace of Blues, Jazz, Dixieland, Rhythm & Blues, Rockabilly, Rock & Roll, Cajun, Swamp Pop, Zydeco and more, Louisiana's musical heritage and history are second to none, beginning with Congo Square where it all started over 300 years ago.

Please visit the GALLERIES MUSIQUE Multimedia Virtual Museum as often as you like and enjoy the hundreds of hours of visual materials.

IN FRENCH. For all our Cajun and French heritage friends and family! This web site converts to French!

For the LMHOF French version, scroll over English upper left of page and then CLICK the FRENCH or To return to ENGLISH, simply CLICK English upper left of page.

Purchase Hardback Book: Shepherding The Music

The Louisiana Music Hall Of Fame announces the book on the story of and behind the LMHOF, the only organization to achieve 501c3 (IRS nonprofit status) and to be designated "Official" by act of the Louisiana Legislature!

The book is written by Mike Shepherd, the President and Executive Director, and Founder.

It encompasses a period of over 60 years, and is told by Mike, in his own words, based purely on his memories and recollections from his life in music, promoting and the LMHOF.

Based on a history of partnerships and opportunities with Crocked Foxx Music and Productions, the Montalbano Brothers (Mickey and Sam), LSU and others, Mike's mission, described as a labor of 'love," and to "honor and preserve Louisiana's greatest natural resource - her music". Is accurately told and written from reality of "living it".

As illustration to the book, Mike has included over 200 pieces of artwork (posters, promos, etc.) and photographs of famous Louisiana Artists. Plus, a listing (with date) of all current Inductees of the LMHOF. Intermixed with and within 200+ pages (over 50,000 words) of text.

Elephant's Memory

Although chiefly remembered these days for their role as John Lennon's loose and ragged backup band on his Some Time in New York City album from 1972, Elephant's Memory have a bit more to their history…
Read Full Biography

Artist Biography by Steve Leggett

Although chiefly remembered these days for their role as John Lennon's loose and ragged backup band on his Some Time in New York City album from 1972, Elephant's Memory have a bit more to their history than that. Formed in 1967 by drummer Rick Frank and saxophonist and clarinetist Stan Bronstein, who reportedly met on the New York City strip-joint circuit, the group specialized in an eclectic Frank Zappa-like mix of psychedelia, jazz, and acid-tinged rock, and delivered a truly bizarre stage show complete with inflatable stage sets. Their first album, simply called Elephant's Memory, was released in 1969 on Buddah Records, a label more famous for bubblegum pop groups than whacked-out horn bands.

Two tracks from the LP, "Jungle Gym at the Zoo" and "Old Man Willow," found their way onto the Midnight Cowboy movie soundtrack later that year, which gave the group some visibility, but it didn't exactly translate into sales for the debut album. A second LP, 1970's Take It to the Streets, had even less commercial impact. Then came John Lennon and Some Time in New York City, and Elephant's Memory had their moment in the sun. They released a third album, also called Elephant's Memory and featuring David Peel, on Apple Records later that year, then backed up Yoko Ono on 1973's Approximately Infinite Universe. Angels Forever, which turned out to be the group's swan song, appeared in 1974.

Elephant's Memory left behind what is probably best described as a footnote legacy, since they will undoubtedly always be linked chiefly to Lennon and Ono. An impressive number of musicians passed through the band in its seven-year run, including Frank and Bornstein, as well as Carly Simon (yes, that Carly Simon, who was a member of the group for about six months), Jon Sachs, Gary VanScyoc, Michal Shapiro, Chris Robinson, Martha Velez, John Ward, Chester Ayres, Myron Yules, Richard Sussman, Wayne "Tex" Gabriel, Daria Price, and John Labosca. Footnote they may be, but Elephant's Memory made more of an impact than anyone ever might have suspected from a scuffling New York City street band.

What was the advance response to this Cats movie?

People are excited, confused and fascinated by the movie adaptation after all, “digital fur technology” can go in a lot of directions, not all of them good. While he has quite a collection of awards, Hooper is also a divisive director: not everyone was on board with his starry, big-screen adaptation of Les Misérables. Actor Ian McKellen summed it up in his response on Twitter: “Most of you are looking forward to it, many are curious, and others have their doubts,” he shared on July 17.

Navigate the wiki learn to more about the creatures created by Henderson!

The Trevor Henderson Wiki focuses on gathering information about cryptids created by Trevor Henderson. Everyone is highly welcomed to contribute on this wiki, as long as your edits are constructive, reasonable and valid. Before editing on our wiki, please take your time and read the rules. Thank you for visiting our site, we hope you come back soon.

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Death and Legacy

In 1999, Simone performed at the Guinness Blues Festival in Dublin, Ireland. She was joined on stage by her daughter Lisa Simone Kelly for a few songs. Lisa, from Simone&aposs second marriage to manager Andrew Stroud, followed in her mother&aposs footsteps. Among an array of performance accomplishments, she has appeared on Broadway in Aida, using the stage name "Simone."

In her final years, reports indicated that Nina Simone was battling breast cancer. She died at the age of 70 on April 21, 2003, at her home in Carry-le-Rouet, France.

While she may be gone, Simone left a lasting impression on the world of music, art and activism. She sang to share her truth, and her work still resonates with great emotion and power. Simone has inspired an array of performers, includingਊretha Franklin, Laura Nyro, Joni Mitchell, Lauryn Hillਊnd Meshell Ndegeocello. Her deep, distinctive voice continues to be a popular choice for television and film soundtracks.

Two documentaries on the musician&aposs life were released in 2015: The Amazing Nina Simone, directed by Jeff L. Lieberman, and What Happened, Miss Simone?, from Netflix. The latter project was directed by Liz Garbus and offered commentary from daughter Lisa and ex-husband Stroud, among others. In addition to glorious musicianship, the project detailed troubling aspects of Simone&aposs life, including the abuse she endured from her ex-husband and in turn the abuse daughter Lisa endured from her mother. What Happened, Miss Simone? later received an Oscar nomination for best documentary. In a turn of controversial casting, Simone was also depicted by actress Zoe Saldana in the 2016 biopic Nina.

In 2016, with Simone&aposs childhood home in Tryon on the market, four African American artists teamed up to purchase the structure, fearing it would be demolished. Two years later, the National Trust for Historic Preservation designated the house a "national treasure," thereby protecting it from demolition, with the organization reportedly intent on finding ways to restore it for use by future artists.